Postagens
• Welcome back to another post!
• A pauta aqui é INGLÊS-UNIVERSIDADES PARTICULARES.
➧NESTE POST: PROVA de INGLÊS da PUC-RIO-2012-VESTIBULAR-GRUPO 1, 3 e 4, Prova aplicada em 04/11/2011.
➧BANCA/ORGANIZADOR:
• Pontifícia Universidade Católica/RJ.
➧LEITURA de textos de jornais digitais, revistas, websites, é um excelente treino para a prova.
• 10 Questões do tipo Multiple Choice (A,B,C,D,E).
➧TÓPICOS ABORDADOS ao longo da prova:
1-VERBS:
• [ = ]
2-PHRASAL VERBS - USES:
• [ = ]
3-PERFECT TENSE - USES:
• [ = ]
4-MODAL VERBS - USES:
• [ = ]
5-NOUN:
• [ = ]
6-ADJECTIVES:
• [ = ]
7-ADVERBS:
• [ = ]
8-ADJECTIVE PHRASES(Adjective+noun):
• [ = ]
9-IDIOMS(Expressões Idiomáticas):
• [ = ]
10-COLLOCATIONS:
• [ = ]
11-TECHNICAL ENGLISH(Military English, Business English, Finance English and so on):
• [ = ]
12-CONNECTORES AND LINKERS:
• [ = ]
13-GENITIVE CASE:
• [ = ]
14-FALSE COGNATES:
• [ = ]
➧Agora vamos à PROVA!
• TEXTO:
THE INSIDE STORY
1
I live in the storytelling capital of the world. I tell
stories for a living. You’re probably familiar with many
of my films, from Rain Man and Batman to Midnight
Express to Gorillas in the Mist to this year’s The Kids
Are All Right.2
But in four decades in the movie business, I’ve come to see that stories are not only for the big screen, Shakespearean plays, and John Grisham novels. I’ve come to see that they are far more than entertainment. They are the most effective form of human communication, more powerful than any other way of packaging information. And telling purposeful stories is certainly the most efficient means of persuasion in everyday life, the most effective way of translating ideas into action, whether you’re green-lighting a $90 million film project, motivating employees to meet an important deadline, or getting your kids through a crisis.
3
PowerPoint presentations may be powered by state-of-the-art technology. But reams of data rarely engage people to move them to action. Stories, on the other hand, are state-of-the-heart technology— they connect us to others. They provide emotional transportation, moving people to take action on your cause because they can very quickly come to psychologically identify with the characters in a narrative or share an experience—courtesy of the images evoked in the telling.
4
Equally important, they turn the audience/
listeners into viral advocates of the proposition,
whether in life or in business, by paying the story—not
just the information—forward.
5
Stories, unlike straight-up information, can change our lives because they directly involve us, bringing us into the inner world of the protagonist. As I tell the students in one of my UCLA graduate courses, Navigating a Narrative World, without stories not only would we not likely have survived as a species, we couldn’t understand ourselves. They provoke our memory and give us the framework for much of our understanding. They also reflect the way the brain works. While we think of stories as fluff, accessories to information, something extraneous to real work, they turn out to be the cornerstone of consciousness.
6
Much of what I know about narrative and its power I learned over the course of working in the entertainment industry. In the early 1980s, I was chairman of PolyGram Filmed Entertainment as well as a producer at that studio. I was pitched a movie to finance and distribute based on a book then titled The Execution of Charles Horman. It told the true story of Ed Horman, Charles’s father, a politically conservative American who goes to South America in search of his missing journalist son. Ed joins with his daughter-inlaw Beth, who, like her husband, is politically polarized from the father, in prying through bureaucracy and dangerous government intrigue in search of their son and husband. Gradually, the father comes to realize his own government is concealing the truth.
7
Although the project had enlisted a great filmmaker—Oscar winner Costa Gavras (for the thriller Z)—I didn’t find it compelling. A Latin American revolution was a tough sell for a commercial American film, along with the story of a father who had no relationship with his son and the fact that you already knew the ending: the son is dead without the father ever finding him. This story was dead on arrival as an investment.
8
Out of courtesy, I met with the father, who knew I was not a fan. After a few polite introductions, he nodded to some pictures of my then-teenage daughters on my bookcase. “Do you really know your children?” he asked. “Really know them?” He went on to tell me a story—that the search for his son was more a search for who he was than where he was, because he always suspected he was dead. But the journey was a revelation, not least about the many values father and son in fact shared. It was a love story, not a death story.
9
His telling engaged me in a unique personal way, emotionally transporting me into the search for his child, and it made me wonder whether I really knew my daughters, their values and beliefs, their hopes and dreams. If the writer could focus the film as a love story/thriller and an actor could engage those emotions and pique those questions, and the film could be executed to get critical acclaim, it really might be worth backing.
(A) talks about stories in the course he teaches.
(B) has acted in many well-known comedies.
(C) lives in New York, the capital of the storytelling world.
(D) makes a living in San Francisco, the storytelling capital of the world.
(E) has collected many awards for the films he has produced.
5
Stories, unlike straight-up information, can change our lives because they directly involve us, bringing us into the inner world of the protagonist. As I tell the students in one of my UCLA graduate courses, Navigating a Narrative World, without stories not only would we not likely have survived as a species, we couldn’t understand ourselves. They provoke our memory and give us the framework for much of our understanding. They also reflect the way the brain works. While we think of stories as fluff, accessories to information, something extraneous to real work, they turn out to be the cornerstone of consciousness.
6
Much of what I know about narrative and its power I learned over the course of working in the entertainment industry. In the early 1980s, I was chairman of PolyGram Filmed Entertainment as well as a producer at that studio. I was pitched a movie to finance and distribute based on a book then titled The Execution of Charles Horman. It told the true story of Ed Horman, Charles’s father, a politically conservative American who goes to South America in search of his missing journalist son. Ed joins with his daughter-inlaw Beth, who, like her husband, is politically polarized from the father, in prying through bureaucracy and dangerous government intrigue in search of their son and husband. Gradually, the father comes to realize his own government is concealing the truth.
7
Although the project had enlisted a great filmmaker—Oscar winner Costa Gavras (for the thriller Z)—I didn’t find it compelling. A Latin American revolution was a tough sell for a commercial American film, along with the story of a father who had no relationship with his son and the fact that you already knew the ending: the son is dead without the father ever finding him. This story was dead on arrival as an investment.
8
Out of courtesy, I met with the father, who knew I was not a fan. After a few polite introductions, he nodded to some pictures of my then-teenage daughters on my bookcase. “Do you really know your children?” he asked. “Really know them?” He went on to tell me a story—that the search for his son was more a search for who he was than where he was, because he always suspected he was dead. But the journey was a revelation, not least about the many values father and son in fact shared. It was a love story, not a death story.
9
His telling engaged me in a unique personal way, emotionally transporting me into the search for his child, and it made me wonder whether I really knew my daughters, their values and beliefs, their hopes and dreams. If the writer could focus the film as a love story/thriller and an actor could engage those emotions and pique those questions, and the film could be executed to get critical acclaim, it really might be worth backing.
By Peter Guber
Adapted from Psychology Today – March 15, 2011
http://www.psychologytoday.com/articles/201103/the-inside-story
Retrieved on August 15, 2011.
11. According to the first and fifth paragraphs the author of the
text says that he(A) talks about stories in the course he teaches.
(B) has acted in many well-known comedies.
(C) lives in New York, the capital of the storytelling world.
(D) makes a living in San Francisco, the storytelling capital of the world.
(E) has collected many awards for the films he has produced.
R E S P O S T A : A |
12. When the author of the text says: “I’ve come to see” (line 9) he is talking about
(A) coming to Hollywood to see stories made into films.
(B) beginning to watch films and Shakespearean plays.
(C) what he now understands about stories in films.
(D) being at the film sessions in these four decades.
(E) how the film industry has developed since its beginning.
R E S P O S T A : C |
13. In paragraph 2, “any other way of packaging information”
(lines 11-12) means
(A) analyzing information.
(B) understanding arguments with information.
(C) reading information on a package.
(D) presenting information.
(E) hiding information.
(A) analyzing information.
(B) understanding arguments with information.
(C) reading information on a package.
(D) presenting information.
(E) hiding information.
R E S P O S T A : D |
14. In paragraph 2, the author says: “And telling purposeful stories is certainly the most efficient means of persuasion in everyday life, the most effective way of translating ideas into action” (lines 12-15). In his view, stories
(A) are a way of organizing a debate.
(B) have the purpose of creating certainty about life.
(C) can have an effect on what people do in everyday
situations.
(D) are limited by the fact that they have to persuade.
(E) are a form of advertising for products.
(D) are limited by the fact that they have to persuade.
(E) are a form of advertising for products.
R E S P O S T A : C |
15. Mark the answer that expresses the difference between PowerPoint presentations and stories, according to paragraph 3.
(A) PowerPoint presentations have more art than stories do.
(B) People feel the power of PowerPoint technology more than the power of stories.
(C) PowerPoint presentations have new technology and stories have old technology.
(D) Although PowerPoint presentations have the power of technology, stories have the force to engage people.
(E) People immediately identify with technology in PowerPoint presentations, while in stories people identify with the characters.
R E S P O S T A : D |
16. paragraph 7, the author gives several reasons for thinking that the film would not be successful. Mark the reason that the author does NOT mention.
(A) The theme of a South American revolution would not appeal to audiences.
(B) American audiences expect to see stories of Latin American revolutions that fail.
(C) The story of a father that hardly knew his son would not interest an audience.
(D) Audiences expect a father to find his son if he goes on a long search for him.
(E) Stories are not appealing when they have a familiar ending.
R E S P O S T A : B |
17. During the meeting with the father, the author became convinced that doing the film was a good idea. Mark the answer that corresponds most closely to the reason for the author changing his mind, according to paragraph 9.
(A) The author became personally involved in the search for the boy.
(B) He realized he could make an exciting love story with a well-known actor.
(C) The author’s daughters could tell the film writer about their own search for values.
(D) He knew that writers would be able to challenge the questions about family searches.
(E) He thought that an actor might be able to make audiences feel the emotions of the father’s search.
R E S P O S T A : E |
(A) The author became personally involved in the search for the boy.
• O autor envolveu-se pessoalmente na busca pelo menino.
(B) He realized he could make an exciting love story with a well-known actor.
(B) He realized he could make an exciting love story with a well-known actor.
• Ele percebeu que poderia fazer uma emocionante história de amor com um ator conhecido.
(C) The author’s daughters could tell the film writer about their own search for values.
(C) The author’s daughters could tell the film writer about their own search for values.
• As filhas do autor poderiam contar ao escritor do filme sobre sua própria busca por valores.
(D) He knew that writers would be able to challenge the questions about family searches.
(D) He knew that writers would be able to challenge the questions about family searches.
• Ele sabia que os escritores seriam capazes de desafiar as questões sobre buscas familiares.
(E) He thought that an actor might be able to make audiences feel the emotions of the father’s search.
(E) He thought that an actor might be able to make audiences feel the emotions of the father’s search.
• Ele pensou que um ator poderia ser capaz de fazer o público sentir as emoções da busca do pai.
18. the CORRECT statement concerning the meanings of the words extracted from the text.
(A) “reams” in “reams of data” (line 20) could be substituted by “large quantities of”.
(B) The word “advocates” (line 30) tells us that the audience becomes lawyers.
(C) “provoke” in “they provoke our memory” (lines 39-40) gives an idea of very aggressive feelings.
(D) The word “extraneous” (line 43) means being directly connected with something.
(E) In “a book then titled” (line 50) the word “then” means “afterward”.
18. the CORRECT statement concerning the meanings of the words extracted from the text.
(A) “reams” in “reams of data” (line 20) could be substituted by “large quantities of”.
(B) The word “advocates” (line 30) tells us that the audience becomes lawyers.
(C) “provoke” in “they provoke our memory” (lines 39-40) gives an idea of very aggressive feelings.
(D) The word “extraneous” (line 43) means being directly connected with something.
(E) In “a book then titled” (line 50) the word “then” means “afterward”.
R E S P O S T A : A |
19. Check the CORRECT statement concerning reference.
(A) In “because they can very quickly come to psychologically identify with” (lines 25-26) the pronoun “they” refers to stories.
(B) In “Equally important, they turn the audience/listeners into” (lines 29-30), the pronoun “they” refers to people.
(C) In “It told the true story” (line 51), “It” refers to the movie.
(D) In “This story was dead on arrival” (line 67) the pronoun “This” refers to the story that the father tells.
(E) In “His telling” (line 80), “His” refers to the son.
(A) In “because they can very quickly come to psychologically identify with” (lines 25-26) the pronoun “they” refers to stories.
(B) In “Equally important, they turn the audience/listeners into” (lines 29-30), the pronoun “they” refers to people.
(C) In “It told the true story” (line 51), “It” refers to the movie.
(D) In “This story was dead on arrival” (line 67) the pronoun “This” refers to the story that the father tells.
(E) In “His telling” (line 80), “His” refers to the son.
R E S P O S T A : D |
20. Mark the INCORRECT option concerning the statements, based on the text.
(A) In “they are far more than entertainment” (lines 9-10), “far” means “much”.
(B) The expression “not only would we not likely have survived as a species” (lines 37-38) means that it is not probable that we would have survived.
(C) In “While we think of stories” (line 42), “while” could be substituted by “although”.
(D) The phrase “Out of courtesy” (line 69) suggests that the author wanted to be polite.
(E) The phrase “not least about the many values” (lines 77-78) means that the father and son’s values were not important.
R E S P O S T A : E |
• Marque a opção INCORRETA quanto às afirmações, com base no texto.
(B) The expression “not only would we not likely have survived as a species” (lines 37-38) means that it is not probable that we would have survived.
(C) In “While we think of stories” (line 42), “while” could be substituted by “although”.
(D) The phrase “Out of courtesy” (line 69) suggests that the author wanted to be polite.
(E) The phrase “not least about the many values” (lines 77-78) means that the father and son’s values were not important.
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